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Post by maddogfagin on Jun 27, 2021 6:13:37 GMT
expmag.com/2019/12/the-experience-questionnaire-martin-barre/The Experience Questionnaire: Martin BarreGrammy-winner Martin Barre was the guitarist for Jethro Tull for 43 years. He has worked with artists including Paul McCartney and Phil Collins, and has shared stages with Jimi Hendrix, Fleetwood Mac, Pink Floyd, and Led Zeppelin. Barre is currently touring the U.S. with his band, and recorded a double album this year.
Where do you come up with your best ideas? First thing in the morning, after a cup of coffee. My body doesn’t wake up quickly, but my brain does.
What is the best non-material gift you’ve received? I’ll have to be ever-so-syrupy here and say my children. As they’ve grown, we’ve become best friends.
What is the best non-material gift you’ve given? Talking to people, being nice. Good manners, being friendly, should be normal. And in modern times it so much isn’t the case.
What is the biggest challenge you’ve faced? When Jethro Tull finished, I was literally given nothing, everything was taken away from me. Everything I had for 43 years. All I had was myself and a burning desire to keep playing music. I had to sit down and learn how to do it. I’m a determined person. I wouldn’t be beaten.
If you had to choose a different profession, what would you do? I started out in architecture the ’60s — it was very, very, very boring. People weren’t building what they are now; it was square boxes. But I always loved building. So I think I’d be an architect.
What is the most useful mistake you’ve made? All mistakes are useful if you learn from them. Everybody makes mistakes — the worst are when you pretend they didn’t happen, when you’re in denial, or blame it on someone else.
What’s the strangest experience you’ve had? I ran marathons, and I think what you put your body through — the mental and physical challenge, and at the end, you have the strangest feeling of accomplishment — it’s almost magical. It’s almost a drug, a high. You have something special at the end.
What opportunity do you regret passing up? If someone asks me to do something, I almost always say yes. I don’t really pass things up. But there are things I wish I hadn’t done.
How do you relax? I go running. It’s a very therapeutic thing to do, especially when you’re traveling crazy amounts as we do in a band. It’s a therapy, to have that freedom — no phones, no schedule. I love the outdoors. Wherever I am, I’ll find the nicest place —the river, the park, the beach, the hiking trail.
If you could go anywhere in the world tomorrow, where would you go? Australia. I was there 12 years ago; I love the food, the culture, the attitude. And a place I’ve never been: Patagonia. It looks unbelievable.
What is your most indelible childhood memory? My mom and dad worked all the time, so when I was little, my aunt and uncle would take me out on their motorbike, which had a sidecar. Every weekend, they’d take me out to a park or somewhere. They treated me like their own. We had wonderful times.
What’s the most valuable thing you learned in school? Maybe rebellion. The fact that you didn’t have to toe the line, the mindless rules. Rules are there to be challenged.
When you’re stuck how do you get unstuck? If I get into a difficult situation, I kind of bury my head in the ground. I’m not very good at coming head-to-head with a problem. Eventually when I do, I think it through very, very carefully.
What is your proudest moment? The last show we did in America. We worked incredibly hard to get that [tour] together, and we had a fantastic reaction. The audience was just incredible. And it wasn’t anything to do with ego—it was a feeling when all the hard work and tedium and what you put into what you do for a living gets recognized.
What would you like to experience before you die? I’m not looking for anything. What I do is perfect for me. I want to be a better musician every day of my life; I’ll never be good enough for myself. But I’m in a very happy place.
Published on December 4, 2019
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Post by maddogfagin on Jun 28, 2021 6:11:52 GMT
www.newtownbee.com/04212019/concert-preview-jethro-tulls-martin-barre-time-tripping-into-ridgefield/Concert Preview: Jethro Tull's Martin Barre Time Tripping Into RidgefieldPublished: April 21, 2019 12:51 PMRIDGEFIELD — I resisted the temptation to make a "Road Less Traveled" joke (riffing on his latest solo album title) when I recently connected with Grammy-winning Jethro Tull guitarist and songwriter Martin Barre, even though he was taking my cell call while on a gas stop somewhere along the New Jersey Turnpike. traveling with his wife Julie, Barre was winding his way northward on a tour that will bring him and former Tull bandmates Dee Palmer and Clive Bunker to The Ridgefield Playhouse on April 24 for a celebration of "50 Years of Jethro Tull," a two-hour-plus, multi-media extravaganza of classic and prog rock. Anyone with ears on classic rock radio between around 1970 has undoubtedly heard a few of his trademark guitar licks on tunes like “Aqualung,” “Bungle in the Jungle,” “Locomotive Breath,” “Cross-Eyed Mary,” and many others. He has also enjoyed a fairly prolific solo career, recording a total of eight of his own albums before and after his 42-year tenure with Tull ended in 2012, including his latest Road Less Traveled. Barre said the period following his departure from Tull was both terrifying and liberating, but the veteran rocker — whose middle name is actually Lancelot — said he knew he couldn't hesitate to jump right back on the musical horse that had unceremoniously thrown him. "I really discovered a lot of freedom," he replied. "It was interesting because I didn't have a lot of warning or a lot of time, so I really had to think on my feet. But I felt quite determined not to sit back and watch the months go by wondering what to do with myself. "So I started playing music again straight away. Actually, I had to for my own sanity. And it worked out really good because I was able to do an acoustic album, which was half quiet, melodic Jethro Tull songs that I wrote. It's almost all instrumental and provided me an intense three months of writing and arranging. "That sort of gave me a kick-start into being busy — writing and playing again and thinking through how I was going to get back on the road again," he continued. "And for that last seven years or so, has been building this live band on the road — the best band you could ever get together. And really playing the music I want to play, especially from the Jethro Tull catalog because certainly in the later days with the band things were getting pretty stale — very stagnant — no forward motion at all musically, creatively. "So on my own I'm able to do that. That was the release I got from the situation and it turned into a very positive thing," Barre said. "I've got an amazing band and an amazing show on the road and that makes me very happy." New Songs, Old Guitar Road Less Traveled is a cornucopia of well-crafted material that never strays far from what you might expect to hear if Jethro Tull and its fiercely independent frontman Ian Anderson had opted to continue working with Barre. Mentioning an immediate affinity for one particular new number from Road Less Traveled, Barre seemed intrigued that I singled out the moody "For No Man," which he said seemed to resonate with a lot of fans and critics alike. He chuckled when I suggested the song seemed to end one verse too short. "That's amazing and makes me quite happy to hear you say that," Barre replied. "That's the one a lot of people pick out to ask me — they all want to know what the lyrics are all about. I'm so pleased you like that one because it's not an in your face type of arrangement, there's a lot of subtleties in it. I really like the mood and atmosphere. "If there's a message to it, I suppose it's how loyalty, respect, friendship, can take a sideline in today's greedy world. And it reflects how there are bad things emotionally, even in what you may think are the best of relations." Switching focus from the music to Barre's tools of the trade — a respectable cache of instruments — he talked reverently about a sweet Gibson ES335 that he owned and played early in his career before selling it, and then re-discovering and buying it back years later. "It's a beautiful instrument and really supplies a slightly different tone and color. I have played [Paul Reed Smith] guitars for a long time, because they will do anything you ask them to do. But I like that there's something a little more quirky about playing a different guitar. Essentially, I don't need it but I love playing it — and I think any instrument you find pleasure in playing, it really is a luxury, isn't it? A bit of cream on the cake. "I've got quite a few instruments on the road with me, but that one provides such a slightly different sound, I've had to bring a number of other guitars with me on tour," Barre said. "A lot of the early Tull material is played on a '59 [Gibson] Les Paul, so as I was getting ready for this tour last year I thought it would be really nice to have a Les Paul guitar to play those same tunes on. So I brought one on the road and really enjoy playing that." Learning & Loving Mandolin Barre was also candid in admitting his initial discomfort when he decided to try and take up the mandolin, which he said he now loves playing and using for songwriting. "I never really liked it until I sort of got involved in it — it was really quite alien to me," Barre said. "Then I slowly started getting into playing it and it gives you such a different perspective on music in terms of opening other channels and areas. You can't really play it and think like a guitar player. And I quite like that it makes you approach music from a different direction and attitude when you write on it." As someone who primarily expresses his artistic talents through an instrument, Barre said as his skills at playing and arranging have become much more adept in his solo years, he still struggles when it comes to putting lyrics to paper. "I'm still a beginner as a songwriter and I really enjoy it although the lyrics I find are a nightmare because I don't have a natural ability to write them. But creating the music is fun — I could write songs forever whether they're good or bad I don't know. I just do what I do, and work hard to make sure it's the best I can do. But those lyrics... I do spend a lot of time. "I guess what worries me is I don't sing them, I'm writing lyrics that somebody else sort of has to grapple with and shoehorn it into a melody that might not come naturally. That's really the difficult side of it. I think the lyrical writing will improve — I like the fact there's this whole new area that's brand new to me. It's very fresh and an exciting new part of what I do." Electrifying Concert Repertoire Tull fans, as well as anyone who enjoys a thoroughly immersive concert experience, will not want to miss his April 24 show in Ridgefield (he is also set to play the intimate Iridium in New York City the following night). His April 20 show at the Academy of Music in Northampton, Mass, revealed a treasure trove of Tull gems. Barre hit buttons across the Tull landscape, from "Steel Monkey" off the Grammy-winning Crest of a Knave, and 1968's "My Sunday Feeling," to the obscure "Heavy Horses" from Barre's first project with Tull — Stand Up — an energetic "Hunting Girl," and a note-perfect "War Child." The entire show flowed from tune to tune flawlessly with creatively conceived projections showcasing clips of Barre, Palmer, and Bunker, interlaced with historical touchstones from Jethro Tull's ascent from late '60s blues to the classic rock machine it became in the years leading up to Barre's solo period. His other musical colleagues Dan Crisp (vocals/guitar), Alan Thompson (bass), and Darby Todd (drums) melded swimmingly with Palmer and Bunker. The show also featured Alex Hart and Becca Langsford, lending added acoustic guitar, percussion, and beautifully woven vocals and harmonies at various points in the set. Their contributions to "Life's A Long Song" (with tasty keyboard work from Palmer) and "One White Duck," helped infuse those acoustic melodies with new energy. And by the time every member of his ensemble took the stage for "Bungle in The Jungle," their contributions were solidy evident. Barre's frequent dual guitar interplay with Crisp is also a huge treat and astonishingly good — leaving this reviewer and more than a few audience members not missing the many absent flute passages one bit. If you saw any of the post-Barre shows from Tull co-founder Anderson's recent past, you owe it to yourself to see the critical ingredient those shows lacked. Having the opportunity to see Barre's take on the Tull catalog was nearly as joyous for the sold out Academy Of Music audience as it appeared to be for him, and it reminded many hard-core fans of the countless and now missing contributions he made to the band.
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Post by bunkerfan on Jul 2, 2021 12:41:15 GMT
This article was published in my local newspaper but despite searching the Northern Echo website, the article doesn't appear online so all I have is this photo I took. Maybe maddogfagin can do a search
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Post by maddogfagin on Jul 2, 2021 13:13:59 GMT
This article was published in my local newspaper but despite searching the Northern Echo website, the article doesn't appear online so all I have is this photo I took. Maybe maddogfagin can do a search No, couldn't find it although I did see an article on William Shatner I'll get my coat
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Post by maddogfagin on Jul 5, 2021 6:05:19 GMT
louderthanwar.com/martin-barre-arts-centre-barnoldswick-live-review/Martin Barre: The Music & Arts Centre, Barnoldswick – live reviewBy Mike Ainscoe -November 8, 2017MARTIN BARRE The Music & Arts Centre, Barnoldswick November 7 2017 Forty odd years as a member of mega rock band Jethro Tull can’t really go unmentioned although now working away from whatever still passes as Tull, you can’t get more low key than finishing off a world tour downstairs in a local bar in an off the beaten track Lancashire locale. The venue in the town known as Bar’lick – the rock and roll greeting of “Hello Barnoldswick” having a ring of Ripping Yarns Gordon Ottershaw about it – is one that’s slowly becoming established as a compact, up very close and very personal, venue. Attracting some impressive names to its intimate confines, perhaps it was no surprise that Martin Barre should choose to end ten weeks on the road, several thousand American road miles and a few UK motorway trials under his belt, with something a little special. Away from his Tull connections, Barre has a relaxed solo output, his most recent 2015 Back To Steel album accompanying previous solo outings Away With Words and Order Of Play, yet he has a wealth of music at his beck and call with which to deal a winning hand. The full electric four piece has the flexibility to perform in different guises, but tonight found itself cut back to a simple acoustic duo with Dan Crisp on vocals and supporting guitar. Toying with several possible options, MB unplugged, unrehearsed, the pair settled on MB – exposed. Fair enough really as the acoustic format is one where there’s no hiding behind the electric crunch of Minstrel In The Gallery of riffing away on Aqualung with just the one occasion when there was a request for a little reverb. He mixed a set of a healthy peppering of Tull, covers including The Beatles and originals, the opening Wond’ring Aloud once again allowed a moment to ponder the question “will the years treat us well?” and while his mate Ian Anderson may struggle to cope these days with the vocal challenges of the Tull material, the Barre guitar prowess seems unusually bright; either that or the hypnotic nature of the deep red stage lighting. It was a rare treat to see and hear him play exclusively acoustic (bar the obvious amplification) and in a manner some would call ‘sprightly’, Mr Barre having seen 70 summers. Highlights? With a couple of instrumental pieces decorating the set, it could have been meeting what he called the challenge of the instrumental French Correction which was duly tricky and needing the sort of technical wizardry that only a class player could execute. Teacher was the pick of the Tull material although a funky Fat Man moved the song away from its usual folky jig guise and perhaps of the covers, Blind Faith’s Can’t Find My Way Home. The latter met with an audible murmuring of approval from a discerning crowd, many of whom will have been along for many if not all of those 43 Tull years and wallowing in the chance to see a genuine but humble rock hero in such close quarters. Earlier on, The Hiding Magpies had set the tone by stripping down, thankfully not literally, not on a cold midweek night in Lancashire, to an acoustic duo of Jake & Ross. Their regular country rock and roll translating easily to the acoustic, ‘mind your head when you stand up’ format required in the BMAC. Playing through most, if not all their album, by gosh at a few points you could have closed your eyes and imagine Paul Rodgers was in the next room.
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Post by maddogfagin on Jul 9, 2021 6:18:55 GMT
www.messengernewspapers.co.uk/news/19429469.music-reviews/8th July Music reviews By Kevin Bryan John Carter with Martin Barre,”Spirit Flying Free” (Talking Elephant)-This interesting CD re-issue from Talking Elephant focusses attention on an undeservedly obscure 1997 collaboration between singer-songwriter John Carter and demon guitarist Martin Barre of Jethro Tull fame. The two men had apparently been firm friends during their formative years in Birmingham but gradually drifted apart as fame and fortune beckoned for Barre.This belated musical reunion found the duo working with mutual friends from Tull and Fairport Convention in a polished celebration of the delights of melodic rock,with Barre excelling on guitar and the occasional flurry of flute.”Don’t Mess Around With Me” and “The Student” are two of the stand-out tracks.
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Post by adospencer on Jul 9, 2021 9:31:49 GMT
www.messengernewspapers.co.uk/news/19429469.music-reviews/8th July Music reviews By Kevin Bryan John Carter with Martin Barre,”Spirit Flying Free” (Talking Elephant)-This interesting CD re-issue from Talking Elephant focusses attention on an undeservedly obscure 1997 collaboration between singer-songwriter John Carter and demon guitarist Martin Barre of Jethro Tull fame. The two men had apparently been firm friends during their formative years in Birmingham but gradually drifted apart as fame and fortune beckoned for Barre.This belated musical reunion found the duo working with mutual friends from Tull and Fairport Convention in a polished celebration of the delights of melodic rock,with Barre excelling on guitar and the occasional flurry of flute.”Don’t Mess Around With Me” and “The Student” are two of the stand-out tracks. I find this to be a curious album. Its peppered with those familiar Barre licks, but John Carter has a voice that puts me in mind of those "crooners" that our parents seemed to like so much, Perry Como, Bing etc. so he isn't really a rock singer Some of his songs aren't very good to be honest, but there are some Fairports on hand to add a professional touch , and I really like "The Student", "Winter setting" and "your dry Land" so it has its merits, and is worth picking up . The follow up album (the name of which escapes me) is dreadful though, I gave my copy away.
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Post by maddogfagin on Jul 10, 2021 6:38:46 GMT
www.messengernewspapers.co.uk/news/19429469.music-reviews/8th July Music reviews By Kevin Bryan John Carter with Martin Barre,”Spirit Flying Free” (Talking Elephant)-This interesting CD re-issue from Talking Elephant focusses attention on an undeservedly obscure 1997 collaboration between singer-songwriter John Carter and demon guitarist Martin Barre of Jethro Tull fame. The two men had apparently been firm friends during their formative years in Birmingham but gradually drifted apart as fame and fortune beckoned for Barre.This belated musical reunion found the duo working with mutual friends from Tull and Fairport Convention in a polished celebration of the delights of melodic rock,with Barre excelling on guitar and the occasional flurry of flute.”Don’t Mess Around With Me” and “The Student” are two of the stand-out tracks. I find this to be a curious album. Its peppered with those familiar Barre licks, but John Carter has a voice that puts me in mind of those "crooners" that our parents seemed to like so much, Perry Como, Bing etc. so he isn't really a rock singer Some of his songs aren't very good to be honest, but there are some Fairports on hand to add a professional touch , and I really like "The Student", "Winter setting" and "your dry Land" so it has its merits, and is worth picking up . The follow up album (the name of which escapes me) is dreadful though, I gave my copy away. Spirits Flying Free seemed almost as if it was a "vanity" project and I agree with you about Martin's guitar playing on the album. As for the follow-up album, I never bought it and your one line review sums up what I heard about the album from those who did. I wonder how many were sold ?
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Post by maddogfagin on Aug 8, 2021 6:14:09 GMT
www.diariodaregiao.com.br/cultura/martin-barre-lan%C3%A7a-%C3%A1lbum-com-releituras-do-jethro-tull-1.30111Martin Barre releases album with reinterpretations of Jethro TullGuitarist has just released the double album '50 Years of Jethro Tull' Harlen Felix Published on 11/10/2020 at 10:37 am Updated 06/06/2021 at 5:23 pm Founded in 1967, Jethro Tull is one of the greatest bands in the history of progressive rock, bringing together elements of folk, blues, rock and psychedelia. With 75 million albums sold and a Grammy in 1988, among Tull's most notable features is the unlikely marriage between Martin Barre's guitar and Ian Anderson's flute, a duo who stayed ahead of the ensemble from 1968 until 2011, when the band went on hiatus. Since then, flutist and guitarist have stayed away, much to the dismay of listeners. But these fans finally have a reason to celebrate: if there is no prospect of the musicians renewing relationships, at least Barre released last week, on major streaming platforms, the double album "50 Years of Jethro Tull". and reinterpretations of the band's classics,How did it feel to revisit classical music with a fresh approach? Martin Barre - I had a lot of fun recording. It had to sound fresh, vital, have that vitality. But we really enjoyed it. A lot of them we used to play live. You've already stated in interviews that "Benefit" is your favorite Jethro Tull album. Why? Martin Barre - I just enjoyed recording it better. All the songs are really good, but on "Benefit" we had more confidence. It was a record with good acceptance around the world. Essentially the best record was Stand Up, but overall I enjoyed recording "Benefit" best. In Tony Iommi's autobiography of Black Sabbath, he gives some details of the days he spent as guitarist for Jethro Tull in 1968. Did you ever play along with him? Martin Barre - No, I joined the band as soon as he left. Several guitarists auditioned in late 1968 to join Jethro Tull. Iommi, Mick Taylor and I were some of them. He even took the stage at the recording of the film The Rolling Stones Rock and Roll Circus, but did not actually play, as the songs were presented in playback. As Iommi was introduced to Jethro Tull's music, he realized that this was not exactly the sound he wanted to produce. So I was called in just before the end of that year and I had to explain to my parents that I couldn't spend Christmas with them because I had joined a band. You wrote for four decades with the dichotomy between guitar and flute in mind. Has your creative process changed in your solo career, without the flute? Martin Barre - It hasn't changed much, because the flute plays a melodic line, a riff, but the guitar is much more expressive musically. If there's a flute running through the song, we can replicate it with my guitar. On Jethro Tull, the songs work well because Anderson and I knew how to make room for each other. When he started his career, progressive rock was always innovative. How to maintain this experimental feeling after five decades? Martin Barre - If I could put this feeling in a bottle and sell it, I would be rich. I have it in my heart. Whenever I pick up the guitar to play, something I do every day, I think it's the first time I've done it for the rest of my life.In the 1970s and 1980s, rock bands needed to draw crowds to stay relevant. Today, with streaming, a band can captivate a more loyal and widespread audience, without having to be so commercial. Did this dynamic change have any impact on your music? Martin Barre - No, because we never care about fashions. We could have replicated success formulas, making an Aqualung 2, for example, but we never wanted to be that kind of band. Good music will always stand out, regardless of whether it's played to 20 people or 20,000. I prefer, of course, to play for 20,000, but there is no difference, the music is always the same. His show in São Paulo this year was one of the last before the pandemic forced live performances to be canceled. How have you been through the quarantine and what do you expect for the future? Martin Barre - I've been writing songs, I'll probably record a new solo album next year. I plan to release a live recorded DVD this Christmas as well. Meanwhile, I have been playing guitar daily, as I always have, am I practicing the flute more? I love playing table tennis so I have a machine that shoots balls for me. I'm frustrated that I can't play for my audience, but I hope it will soon be possible again. How do you see the contemporary rock scene? Martin Barre - I don't envy younger musicians. I think playing shows has become, in some areas, less important than making music on computers. Brazilians and English share a passion for music and football. But I don't remember many English songs about this sport. Martin Barre - There are even some football songs around here, but they tend to be really bad (laughs). The passion for football is much more contained in England. In Brazil, it seems that everyone is very fanatical, while in England some prefer rugby, tennis, swimming? There is greater variety in interests. Is there any chance of a Jethro Tull reunion with you and Ian Anderson? Martin Barre - I don't believe there is. This chance gets smaller and smaller, and the biggest indication is that the band's 50th anniversary has passed and there has been no initiative in this direction, no celebration or album, not a meeting of musicians.
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Post by maddogfagin on Aug 9, 2021 6:16:47 GMT
summainferno.com/la-edad-no-tiene-barreras-en-la-musica-martin-barre-jethro-tull/'Age has no barriers in music': Martin Barre, Jethro Tullby Rodrigo Cerda February 26, 2020
Martin Barre is a renowned guitarist of the band Jethro Tull, who will soon be performing in our country to give a unique show with special guests who will make you enjoy the evening if you are a progressive fan. We had the opportunity to talk with him to learn more details about his career, plans and the tour. Check out the interview below! What motivated you to carry out the idea of paying tribute of this type to Jethro Tull? I am a very important part of Tull and the history associated with it, so it is very natural for me to lead the resurrection of this name. What has been or continues to be the source of inspiration and energy to continue on stage and even venture out on a new and extensive tour? Always the energy and excitement of playing with my band, the Martin Barre Band, playing live is an incredible experience for me and the audience. Such a special event requires being accompanied by equally special elements, who are the guest musicians who will be in charge of playing the great classics of the band? Dee Palmer is an important member of Jethro Tull and played on all the albums from 1968 onwards, writing all the string parts and much of the instrumental music. Adam Wakeman is one of the best keyboardists in the world and often tours with Black Sabbath, Ozzy Osbourne and Travis, among others. It will play all parts of the keyboard of John Evans, who sadly no longer plays. What specific stages or moments in the history of Jethro Tull will be remembered in these anniversary shows? All the famous songs from Stand Up and Tis were broadcast to Crest of a Knave, all the dynamic hits sounded better than ever, powerful and fresh. When talking about the trajectory and its undeniable influence on the history of progressive rock and its aspects, "Aqualung" and "Thick as a Brick" automatically emerge as key records when talking about Jethro Tull, but you as a musician and a fundamental part of the band, what is the album that you consider the most special or personal favorite, either because of its production process or because of some other experience around it? 'Benefit' was one of the most fun albums to make, as we had incredible success in the US and had great confidence and motivation to produce a good album of great songs. How easy or complicated was the work process when composing and producing the band materials? Since we as an audience only receive the magical end result and perhaps not everyone knows additional details. Behind all the concerts and recordings there were months of hard work, long rehearsals and total commitment, the end result is the tip of the iceberg. We always gave 100% of everything that has to do with music. What do you think has been the greatest satisfaction that your long career has given you? Either in the musical or personal aspect. To continue to have the passion and interest of fans around the world… they are the people who allow me to play and I never take it for granted. What are your next plans or what's to come after wrapping up this anniversary tour? Are there any unfinished business or new material on the way in regards to your solo career? I am constantly writing music and the next CD will be recorded within a year… I am always taking on projects from other artists and keeping the Martin Barre Band as busy as possible. How has the path of independence been in the musical aspect? Totally satisfying as I really know what I need to do musically and I love having full control over the choice of songs. I am a very independent person anyway! How to connect with younger audiences that are beginning to have an approach towards rock and its like in general? Age has no barriers in music… young musicians listen to a wide variety of music and use their ears instead of looking at the artist and making a judgment. I like to think that I play the same or even better than when I was a young guitarist in Jethro Tull!
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Post by maddogfagin on Aug 14, 2021 6:05:35 GMT
www.uai.com.br/app/noticia/musica/2020/11/12/noticias-musica,264780/martin-barre-nao-invejo-os-musicos-mais-jovens.shtml Martin Barre: 'I don't envy younger musicians'English guitarist releases the double album 50 years of Jethro Tull, but discards shows with Ian Anderson. For him, contemporary rock has become 'manufacture music on computers' State of Minas 12/11/2020 04:00 Founded in 1967, Jethro Tull is one of the greatest bands in the history of progressive rock , bringing together elements of folk, blues, rock and psychedelia. With 75 million albums sold and Grammy won in 1988, among the most notable features of Tull is the unlikely marriage between the guitar of Martin Barre and the flute of Ian Anderson, double that remained ahead of the set from 1968 to 2011, when the band went on hiatus. Since then, flutist and guitarist have stayed away, much to the dismay of listeners. But these fans finally have reason to celebrate: if there is no prospect of the duo rekindling relationships, Barre has released, on major streaming platforms, the double album 50 years of Jethro Tull. In this interview, the English guitarist talks about his career, his relationship with Anderson and his expectations for the future. How did it feel to revisit classical music with a fresh approach? I had so much fun recording. It had to sound fresh, vital, have that vitality. But we really enjoyed it. A lot of them we used to play live. You've already stated in interviews that Benefit is your favorite Jethro Tull album. Why? I simply enjoyed recording it better. All the songs are really good, but on Benefit we had more confidence. It was a record with good acceptance around the world. Essentially, the best record was Stand up, but overall I enjoyed recording Benefit better. You wrote for four decades with the dichotomy between guitar and flute in mind. Has this creative process changed in your solo career, without the flute? It hasn't changed much, because the flute plays a melodic line, a riff, but the guitar is much more expressive musically. If there's a flute running through the song, we can replicate it with my guitar. On Jethro Tull, the songs work well because Anderson and I knew how to make room for each other. Early in his career, progressive rock was always innovative. How to maintain this experimental feeling after five decades? If I could put that feeling in a bottle and sell it, I would be rich. I have it in my heart. Whenever I pick up the guitar every day, I think it's the first time I've done it for the rest of my life. In the 1970s and 1980s, rock bands needed to draw crowds to stay relevant. Today, with streaming, the band can captivate a more loyal and widespread audience, without having to be so commercial. Did this dynamic change have any impact on your music? No, because we never care about fashions. We could have replicated success formulas, making an Aqualung 2, for example, but we never wanted to be that kind of band. Good music will always stand out, regardless of whether it's played to 20 people or 20,000. I prefer, of course, to play for 20 thousand, but there is no difference, the music is always the same. His show in São Paulo this year was one of the last before the pandemic forced live performances to be canceled. How have you been through the quarantine and what do you expect for the future? I've been writing songs, I'll probably record a solo album next year. I plan to release a live recorded DVD this Christmas. Meanwhile, I've been playing guitar daily, as I always have, I'm practicing the flute more… I love playing table tennis. I have a machine that shoots balls for me. I'm frustrated that I can't play for my audience, but I hope it will soon be possible again. What do you think of the contemporary rock scene? I don't envy younger musicians. Performing shows has become, in some areas, less important than making music on computers. Is there any chance of a Jethro Tull reunion with you and Ian Anderson? I do not believe. That chance gets smaller and smaller... The biggest indication is that the band's 50th anniversary has passed and there hasn't been any initiative in that direction, no celebration or album, not even a meeting of musicians.
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Post by maddogfagin on Aug 15, 2021 6:30:38 GMT
www.syracuse.com/life-and-culture/erry-2018/09/0dbc5c47dd5930/photos-martin-barre-of-jethro.htmlPHOTOS: Martin Barre of Jethro Tull at Auburn Public Theater 2018Updated Sep 26, 2019; Posted Sep 24, 2018 By Warren Linhart Martin Barre, the lead guitarist with Jethro Tull, and his band -- Alan Thomson, Dan Crisp and Darby Todd -- played to a full house Saturday, Sept. 22, 2018, at Auburn Public Theater. The band played two sets -- the first acoustic, the second electric -- that had the crowd singing and clapping along with a mix of familiar Jethro Tull classics, covers and originals from The Martin Barre Band. Photographer Warren Linhart was there and shares the images below.More photos on web page www.syracuse.com/life-and-culture/erry-2018/09/0dbc5c47dd5930/photos-martin-barre-of-jethro.html
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Post by maddogfagin on Sept 1, 2021 6:12:20 GMT
Martin Barre interview, 6 September 2014 55,200 views Sep 11, 2014
getreadytoROCKvideo 205 subscribers
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Post by itullian on Sept 2, 2021 22:46:54 GMT
Whenever I talk to anyone about Tull, they always say, 'I don't follow them anymore. Not the same without Barre' I think Ian made a mistake breaking with him.
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Post by JTull 007 on Sept 3, 2021 1:39:50 GMT
Whenever I talk to anyone about Tull, they always say, 'I don't follow them anymore. Not the same without Barre' I think Ian made a mistake breaking with him. There are always 2 sides to any relationship... I've felt the same after every change since 1968. Ian owns the name and Martin owns his RIFFS... I LOVE THEM TOO However... There 2 types of TULL which makes TULL TWICE the FUN
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Post by ash on Sept 3, 2021 7:43:43 GMT
Whenever I talk to anyone about Tull, they always say, 'I don't follow them anymore. Not the same without Barre' I think Ian made a mistake breaking with him. Well I follow them 100% and I know many others do as well It seems to me the only people complaining are the one who think that. The rest of us just get on and enjoy Ian and his band at present.
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Post by rredmond on Sept 3, 2021 19:53:17 GMT
...Martin owns his RIFFS... Hells yeah he owns them!
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Post by tull4ever on Sept 4, 2021 10:35:20 GMT
Whenever I talk to anyone about Tull, they always say, 'I don't follow them anymore. Not the same without Barre' I think Ian made a mistake breaking with him. Well I follow them 100% and I know many others do as well It seems to me the only people complaining are the one who think that. The rest of us just get on and enjoy Ian and his band at present. I follow the Ian Anderson band and the Martin Barre band,both very different ,which makes it more interesting for us fans.
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Post by maddogfagin on Sept 12, 2021 6:33:56 GMT
Has anyone found any reviews or articles about the AND Festival ?
Seem a bit thin on the ground compared to previous years.
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stevep
Master Craftsman
Posts: 430
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Post by stevep on Sept 19, 2021 15:03:59 GMT
Saw Martin and band at the Stanhope festival yesterday. Unfortunately they had some technical gremlins and came on stage about 10 minutes late so they were unable to play their entire set. They had further problems with Martin’s guitar set up and there was no sound from it from most of Aqualung including the solo section. It looked to me that Martin and the band did not know his sound was lost. Disappointing as the other 12 bands I saw all came on time and did not seem to have any problems.
Martin played Paparazzi and then the entire Aqualung album apart from (I think) Wind Up.
As a huge Tull and Martin fan, have to admit that I am not sure that playing all of Aqualung was the best idea at this type of festival, even if it is great for us fans. Martin was preceded and followed by some very good bands that got the audience moving.
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Post by maddogfagin on Sept 23, 2021 5:58:55 GMT
Former Jethro Tull guitarist Martin Barre heads down own 'Roads'BY CESAREO GARASA For The Californian Feb 26, 2019 Jethro Tull might be better known for arguably making the flute a legitimate hard rock lead instrument and in stealing a Grammy win from Metallica. But when it comes down to it, the band has always been a bit belittled. They wore their eclectic, mysterious broadswords and minstrel image proudly on their medieval shirt sleeve, and no doubt influenced Spinal Tap’s “Stonehenge.” But the band was much, much more than that common generalization and it had superb material with sonic and thematic weight. The 1971 album “Aqualung” was a massive success and its title track, along with Black Sabbath’s “Iron Man” and Deep Purple’s “Smoke on the Water,” is in the pantheon of “classic guitar riffs anyone can play.” From 1969 to 2012, guitarist and multi-instrumentalist Martin Barre co-piloted the group through worldwide success and sustained popularity. He will perform with his own band at Buck Owens’ Crystal Palace this Saturday. Since leaving Tull, Barre has concentrated on his own solo career as a guitarist, but more specifically a songwriter. His latest album, last year’s “Roads Less Travelled,” shows the 72-year-old guitarist playing with a sense of fluid youthful intuition and a craftsman’s bold confidence. “It’s the first album that all the songs I’ve written myself,” Barre said in a phone interview on the road from Everett, Wash. “My solo instrumental music is quite established, but as a songwriter I’m still fairly learning as I go. It’s an important exercise in trying to get the best songs down on record that I could.” Songs, like the odd-time “Out of Time,” the lovely acoustic instrumental “Trinity,” “Seattle” (the most “Jethro Tull” of all the songs) and the flowing “For No Man,” show Barre’s evolving maturity as a songwriter as well as his strength in editing. He’s kept his songs lean, powerful and engaging. Barre’s guitar sound also changes character from song to song; toggling between intricate, delicate and muscular while retaining an almost sweet clarity. Fans of Jethro Tull will enjoy it, but so will fans of prog-rock bands like Yes and especially solo-era Robert Plant in the 1980s: adventurous music, solid — almost terrifying — musicianship, uncluttered production and an opulent range of influences. It’s a balancing act between instinct and discipline. Solo material aside, Barre is aware of playing to the audience so the majority of the show will be Jethro Tull material. The set-list will include fan-favorites as well as some older, unexpected material. “That’s really refreshing,” Barre said. “They’re important tracks historically and they sound great because most of the early material was written around guitar parts, so there’s nothing missing sonically. It’s a strong set. It’s a good balance of music.” “It’s an exciting gig, and that’s what I want music to be.” The audience can also expect interaction from the thoughtful and pleasant Barre, who champions communication between performers and the audience. “I think, in many ways, people don’t know me. They know Ian (Anderson, Jethro Tull’s frontman) so well because he always traditionally did all the chat onstage. And I just think, 'I want them (the audience) to know me and the guys in the band.’ I guess now, after 70 years, to sort of get up there and not say anything, wouldn’t work.” As to that previously mentioned Grammy upset, this year marks the 30th anniversary of it: Jethro Tull winning the Grammy for the inaugural category of best hard rock/metal performance vocal or instrumental for their album “Crest of a Knave.” They beat out a list of hard rock, punk and heavy metal heavyweights that included AC/DC, Iggy Pop, Jane’s Addiction as well as that year’s frontrunner, Metallica, who had just delivered an electrifyingly intense performance of its song "One." The award was as good as theirs. The stunned reaction of attendees and viewers everywhere when Alice Cooper said, “and the award goes to … Jethro Tull?” reverberates to this day. The win was seen as proof of an out-of-touch Grammy selection process when it came to hard rock and heavy metal music. Barre is thoughtful in his place in Grammy history, only being able to acknowledge his side as bittersweet. “I think we deserved it, in retrospect," Barre said. "It doesn’t matter about categories and controversy. I think my only regret was that I wasn’t there to receive it. But the record label (Chrysalis) said, ‘No. You’ve got no chance of winning so we’re not going to fly you out to L.A..’ I felt really bad. I thought it was quite rude that we weren’t be there to actually say ‘thank you.’ I can’t change it, but it’s a big regret.” "It means the world and I’m sure I’ll never get another one. I’m just so glad that we had that one window of opportunity and I’m very proud of it.” link
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Post by rredmond on Sept 23, 2021 13:14:48 GMT
Still not in the RnR HoF though. I dig Martin and his thoughtful, measured responses during interviews!
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Post by maddogfagin on Oct 10, 2021 5:52:20 GMT
www.loudersound.com/news/pink-floyds-animals-reimagined-by-host-of-prog-starsPink Floyd's Animals reimagined by host of prog starsBy Jerry Ewing ( Prog ) about 19 hours ago Rick Wakeman, Al Di Meola, Billy Cobham, Martin Barre, James LaBrie, Patrick Moraz and more take on Floyd's 1977 album (Image credit: Cleopatra Records)Members of Yes, King Crimson, Jethro Tull, Dream Theater, Focus, Mahavishnu Orchestra, Moody Blues and more have teamed up for a new recording of Pink Floyd's 1977 album Animals. Animals Reimagined: A Tribute To Pink Floyd will be released through Cleopatra Records on November 19. You can listen to the new version of Dogs below, sung by former Rainbow vocalist Graham Bonnet with Vinnie Moore on guitar, Utopia's Kasim Sulton on bass, Dream Theater's Jordan Rudess on keyboards, and King Crimson drummer Pat Mastelotto. Animals Reimagined: A Tribute To Pink Floyd sees the likes of Rick Wakeman, Patrick Moraz, Arthur Brown, Billy Cobham, Al DiMeola and more pay tribute to Pink Floyd with their own take on Animals. Each track of has been completely reimagined with modern production flourishes and tasteful musical additions while staying true to the original album's heady and subtly complex compositions. You can view the reimagined artwork for the new album below, along with a track breakdown showing who plays what below. The album will be available on digital and CD, the latter coming with a deluxe 6-panel digipak. An NFT of the artwork will be auctioned for charity later this year. Animals Reimagined 1. Pigs On A Wing 1 - Nick van Eede (Cutting Crew) & Martin Barre (Jethro Tull)2. Dogs - Graham Bonnet (Rainbow), Vinnie Moore (UFO), Kasim Sulton (Utopia), Jordan Rudess (Dream Theater) & Pat Mastelotto (King Crimson) 3. Pigs (Three Different Ones) - James LaBrie (Dream Theater), Al Di Meola, Joe Bouchard (Blue Öyster Cult), Patrick Moraz (The Moody Blues) & Billy Cobham (Mahavishnu Orchestra) 4. Sheep - Arthur Brown, Rick Wakeman (Yes), Jan Akkerman (Focus), David J. (Bauhaus) & Carmine Appice (Cactus/Vanilla Fudge) 5. Pigs On A Wing 2 - Jon Davison (lead vocalist for Yes), Albert Lee & Billy Sherwood (Yes)
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Post by maddogfagin on Oct 11, 2021 6:19:07 GMT
www.goldminemag.com/news/interview-new-album-martin-barre-former-jethro-tull-guitaristGoldmine Dec 17, 2018By Warren Kurtz The opening six notes of "Aqualung” and its guitar solo on this rock classic is the work of Martin Barre, who was with Jethro Tull beginning with their second album, from 1969 through 2012, making him the second longest band member after Ian Anderson. The Martin Barre Band are comprised of singers and musicians from the county of Devon in England. Their new album, Roads Less Travelled, is solid with a sound that should please fans of Jethro Tull, Santana, Eric Clapton, and Blackmore’s Night, with all eleven songs written by Martin Barre. Win Martin Barre’s Roads Less Travelled CD – see below for details. GOLDMINE: You have assembled quite a band in Devon. MARTIN BARRE: In this traditionally industrial area, it is amazing to have so many great musical people here. It is not obvious. I had to seek them out. GM:The album opens with “Lone Wolf,” with a bit of mandolin and mandola, which will immediately catch the ears of Jethro Tull fans and introduce new listeners of your band to Dan Crisp’s vocals, bringing both clarity and power to the songs. MB: Dan’s vocals add a lot to this one, which was written around a mandolin riff. It has good pacing and plays well on stage, working very well live, which is a good test on whether to include it on an album. GM:On “I’m On My Way,” Dan sings about moving from state to state, which my family can relate to, doing that many times over the years. MB: I am a nomadic musician. I don’t feel like I live anywhere, and I am used to it, living in hotels. I get into the swing of living out of a suitcase and have been for a long time. I rather like it. GM:The electric and acoustic combination on the title song “Roads Less Travelled” is nicely balanced and blended. MB: I had a chordal pattern and it was harder to find a melody, which finally came and brought it all together. The lyrics deal with taking the route that others may not take. People get nervous or unsure. For me, that road is a bit more exciting. GM:On “For No Man” and some of the other numbers, I hear Josiah J. on keyboards, rounding out the sound and adding an interesting color to the tracks. MB: He was the last person to put stuff on the album. He was a bit of an unknown factor coming into the studio. He was fun to work with and successfully did his parts. GM:There is one song where you do all the parts, on the three-part “Trinity,” which flows nicely, reminding me of the transitioning in “Thick as a Brick.” MB: The three parts were developed, one from another, with harmonies and textures. The title comes from Leon Uris’ novel Trinity about families in Ireland, highlighting history and conflict, and the trinity being the Protestants, Catholics and the English. He called the conflicted Ireland a terrible beauty. GM:There is pure beauty in Alex Hart’s vocals. She sounds stunning on “You Are an Angel.” MB: I had written a chord sequence. On television I saw bombing in Syria. Children were in a terrible state and there was only one nurse. This young nurse seemed so oblivious to everything and kept her focus on saving lives. I was so emotionally affected by watching her, reminding me of Florence Nightingale. GM:Becca Langsford certainly delivered the right vocal sound for “Badcore Blues” and continued that blues lead vocal on “And the Band Played Only for Me.” MB: I was gobsmacked by what Becca had done in the studio with “Badcore Blues.” I left her in the studio while I focused on other things and this is what she created. “And the Band Played Only for Me” is about ballroom dancing, which is a lost artform that I fear will disappear one day. I witnessed it in an England hotel where there was one guy whose job was to dance with the old ladies. Then in California, in San Luis Obispo, my wife Julie and I saw people all dressed up and ended up watching their ballroom dancing for two hours. Both Becca and Alex are on “And the Band Played Only for Me.” I hope they’ll come for the Jethro Tull tour next year. GM:Speaking about Jethro Tull, I remember showing my father the photo page of you in the Living in the Past album package, where you are on a golf course, and I pointed out “Driving Song” to him. Now you are back with “(This Is) My Driving Song.” MB: How about that. I never related “Driving Song” and golf together, until now. When we were originally planning on releasing the “Living in the Past” single in 1969, it needed a flip side. I had this riff and that became the basis of “Driving Song.” I never received songwriting credit for it at the time. That’s just how things went, but in revisiting that sound for the new album, a bit tongue in cheek, I am saying, “This Is My Driving Song!” GM:It would take a couple more years until a 1972 reissue of Living in the Pastwould reach the U.S. Top 100, going all the way to No. 11. Before that, the first charting single for the band was a pair from the Aqualung album, “Hymn 43” with “Mother Goose” as its flip side. MB: On stage I have played “Hymn 43” as a jig on mandolin. In St. Louis there was a charity show and a local band there said they played “Hymn 43,” so I joined them live for the Aqualung album version of the song. “Mother Goose” is one we played in Jethro Tull concerts many times. GM:The final charting single for the band in the U.S. was another favorite of mine, “Fallen on Hard Times” with “Pussy Willow” on its flip side, from the album The Broadsword and The Beast. I remember an evening in 1982 when my wife Donna came home tired from work, I said, “Relax. Put your feet up and listen to this new album. In twenty minutes, I’ll flip it over.” MB: Right after she heard “Slow Marching Band” at the end of side one. I have played that one live. GM:You have a busy live schedule in the first half of 2019, balancing the Martin Barre Band and 'Martin Barre Celebrates 50 Years of Jethro Tull' shows. MB: Our band tour will be in the U.S. and Europe, but the Jethro Tull tour will be totally in the U.S., which will include me, Clive and Jonathan.
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Post by maddogfagin on Oct 15, 2021 5:48:15 GMT
www.goldminemag.com/articles/ex-jethro-tull-guitarist-raised-barEx-Jethro Tull guitarist has raised the barMartin Barre, the erstwhile guitarist for Jethro Tull, finds joy in going it alone. Lee Zimmerman June 9, 2016For more than 40 years, Martin Barre was considered a superstar. As Ian Anderson’s constant guitar foil in Jethro Tull, he toured the world, played the world’s biggest arenas and played on a steady string of classic albums, all of which ensured rock ‘n’ roll immortality. In the last few years, since Tull’s unceremonious decision to cease operations, he’s reinvented himself in the role of a solo troubadour, narrowing his parameters and playing intimate venues under his own auspices. Although he’s had his own band for three years and, by his count, plays an average of 100 gigs a year, a recent jaunt marked his first series of gigs in the U.S. under his own auspices. Still, it’s clear from conversation that Barre remains remarkably humble. It sounds strange to hear Barre underplay his impressive resume, given the fact that his guitar riffs, like that on the Tull showstopper “Locomotive Breath,” make for some of the most indelible encounters in all of rock ‘n’ roll. Barre concurs, but quickly points out that even though he and his band — Dan Crisp (vocals), George Lindsay (drums) and Alan Thomson (bass) — cover several Tull tunes in his solo shows, there’s a big difference between his individual efforts and what he did in his former day job. That’s underscored in the six solo albums he’s done to date, the latest being his recent release “Back To Steel,” and contrasts with Ian Anderson’s latest efforts to reimagine significant entries in the Tull catalog. When Goldmine last spoke to Barre in 2012, the subject of Jethro Tull and its continuing prospects were a dominant part of the discussion. This time around we focused on Barre’s individual ambitions and what his goals are going forward. GOLDMINE: We haven’t seen you in the States in recent years. Why not? MARTIN BARRE: It’s very difficult to get over there. I’m an unknown quantity. But through word of mouth and through YouTube, I hope and I guess I have a good reputation. So I’m really happy we’re going to be there and I’m looking forward to it. GM: An unknown entity? You’re responsible for some of the most memorable riffs in rock history. MB: When Mick Jagger did a solo tour a few years ago, it was a disaster. Let’s just say far fewer people want to see Mick Jagger than want to see The Rolling Stones. It’s the same thing here. Everyone wants to see Jethro Tull, but when it’s not Jethro Tull, promoters become nervous about what they’re going to get. However, when people see us play, it breaks the ice. I’m not in my normal environment, but I hope people will trust me. GM: Do you include “Locomotive Breath” in your live shows? That would be a showstopper, no? MB: I don’t do it because I think it’s the easy way out. I keep that one in reserve. I don’t want to be predictable. I do a lot of cool stuff that I think works really well, a lot of my own stuff, as well as blues standards we’ve worked up on our own. The Tull stuff I play hasn’t been played in a long time — “Minstrel in the Gallery,” “To Cry You a Song,” “A Song for Jeffrey” and “Fat Man.” I’ve sort of reinvented them and given them a fresh spin. GM: Being a part of Jethro Tull certainly set a high bar, no? MB: There certainly was a lot of that in the ‘90s when I first started recording solo albums. I recorded an entire album and rejected it because the benchmark was Jethro Tull and it didn’t reach that plateau. It wasn’t good enough. It didn’t compare. Now after six or seven albums, I’m more comfortable. The music I’m doing now doesn’t compare to Jethro Tull or what Ian (Anderson) is doing, so I don’t feel that pressure now. I’m enjoying myself so much the danger is that I might get a bit self-indulgent. GM: Speaking of which, Tull’s tableau was all over the map, was it not? MB: In the beginning we were unpredictable. We could go from rock to folk to that kind of showy extravagance. But in the end it got safe and repetitive. It was a good time to stop, although it wasn’t of my making. It had become stagnant. Everyone who played in Jethro Tull came in with so much enthusiasm and energy, but if you’re restrained from using that energy and giving it to the band – if you’re on a very tight leash – it doesn’t work. I want my musicians to have total freedom. It’s important that it works on an equal basis. GM: Now that Ian has opted to redo the Tull back catalog under his own brand, and you’re obviously fully immeshed in your solo career, does that leave any possibility for Jethro Tull ever reconvening at any point in the future? MB: It’s a safety net to say you never know, but in real terms, I’m very happy with my solo career. I’m not looking at money at all. I’d like to play Madison Square Garden and sell it out, but you have to take that out of the equation. I’m talking about the emotion and the music, and I’m in a really good place. I really want to get my music and my arrangements and my ideas across to people. My goal is that people will like it, and that will be my reward. So, I have no reason to change where I am. GM: Still, the money, the fame, the headlining gigs and the cache of being a superstar – any kind of temptation? MB: Nostalgia is great, and I certainly respect the reputation of Jethro Tull and everything we achieved. We made lots of money and had great success, but I respect the fans even more, the ones who supported us for those 43 years or so. I think looking back can be negative. I don’t have time for that. So I’m looking forward. I don’t go up to people and say “Hey, you know who I am? You know what I’ve done?” I’d rather say to people, “This is what I’m doing now!” I’ve wiped the slate clean. GM: We have to ask — what was your take on Jethro Tull winning the Grammy for Best Heavy Metal Band? MB: We were as surprised as anyone. The sad thing though was that our record company didn’t think we would win and wouldn’t fly us over, so none of us could attend. Even Doane Perry, who was living in L.A. at the time, couldn’t get tickets for the ceremony. So when they announced us as winners, none of us were there to accept. Such a shame. But I’m very proud of my Grammy. I have it sitting on my shelf and I’m looking at it now while we’re speaking.
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Post by maddogfagin on Oct 17, 2021 5:49:10 GMT
A rather long article about Martin - follow the link below. MARTIN BARRE STANDS UP: JETHRO TULL AND BEYONDANTHONY PETKOVICH SEPTEMBER 9, 2021 For an impressive span of over five decades, Martin Barre and Ian Anderson were the two constant presences in Jethro Tull. Anderson’s voice, flute and songwriting shaped the band’s vision but Barre’s stellar guitar work was the essential ingredient for its counterbalancing rock and roll sound. Barre—who has pursued a solo career for years, in addition to his Tull duties, which lasted from 1968 to 2014—spoke with PKM’s Anthony Petkovich about his career, his technique, his relationship with Anderson and everything else under the sun. We are proud to present this conversation with Martin Barre, guitarist extraordinaire. pleasekillme.com/martin-barre-stands-up-jethro-tull-and-beyond/
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Post by maddogfagin on Oct 18, 2021 5:54:57 GMT
www.messengernewspapers.co.uk/news/19648061.music-reviews/14th October Music reviewsBy Kevin Bryan John Carter with Martin Barre,”Spirit Flying Free” (Talking Elephant)-This interesting CD re-issue from Talking Elephant focusses attention on an undeservedly obscure 1997 collaboration between singer-songwriter John Carter and demon guitarist Martin Barre of Jethro Tull fame. The two men had apparently been firm friends during their formative years in Birmingham but gradually drifted apart as fame and fortune beckoned for Barre.This belated musical reunion found the duo working with mutual friends from Tull and Fairport Convention in a polished celebration of the delights of melodic rock,with Barre excelling on guitar and the occasional flurry of flute.”Don’t Mess Around With Me” and “The Student” are two of the stand-out tracks.
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Post by rredmond on Oct 18, 2021 12:59:56 GMT
What a great sepia-ish picture! Relaxed smile, I dig it!
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Post by maddogfagin on Nov 12, 2021 7:20:26 GMT
www.blabbermouth.net/SLASH, ZAKK WYLDE, YNGWIE MALMSTEEN, MARTY FRIEDMAN, GEORGE LYNCH, Others To Guest On LESLIE WEST Tribute AlbumNovember 11, 2021 7 Comments Leslie West passed away on December 23, 2020. Provogue Records / Mascot Label Group has announced the release of "Legacy: A Tribute To Leslie West" on March 25 in celebration of the guitarist. Friends, and many whom were influenced by the loved West, have contributed to this special release. Amongst those who performed are Dee Snider and TWISTED SISTER bandmate Eddie Ojeda, Robby Krieger, Slash, Zakk Wylde, Yngwie Malmsteen, Randy and Tal Bachman, JETHRO TULL's Martin Barre, Joe Lynn Turner, BLACKBERRY SMOKE's Charlie Starr, THE CARS' Elliot Easton, George Lynch, Marty Friedman, Steve Morse, DIRTY HONEY's Mark Labelle, Mike Portnoy and West's band members Bobby Rondinelli and Rev Jones. The release will be available as a limited-edition box set, on LP and CD, digitally, and as a web shop exclusive limited LP variation manufactured with digital. ___________________________ Former DEEP PURPLE and RAINBOW vocalist Joe Lynn Turner tips his hat not only to West, but also to the late MOUNTAIN co-vocalist Felix Pappalardi on not one, but two cuts: On a standout version of "Nantucket Sleighride", the bluesy, prog-flavored title track of MOUNTAIN's second album from 1971, he's joined by international guitar star Marty Friedman; and a haunting take of the psychedelic rocker "For Yasgur's Farm" (from "Climbing!"), he teams with guitarist Martin Barre, best known as the longtime lead axeman for JETHRO TULL. 01. Blood Of The Sun (feat. Zakk Wylde) 02. Nantucket Sleighride (To Owen Coffin) (feat. Joe Lynn Turner & Marty Friedman) 03. Theme For An Imaginary Western (feat. Dee Snider, Eddie Ojeda, Rudy Sarzo, Mike Portnoy) 04. For Yasgur's Farm (feat. Joe Lynn Turner & Martin Barre) 05. Why Dontcha (feat. Steve Morse & Ronnie Romero) 06. Sittin' On A Rainbow (feat. Elliot Easton & Ronnie Romero) 07. Never In My Life (feat. Dee Snider & George Lynch) 08. The Doctor (feat. Robby Krieger & Ronnie Romero) 09. Silver Paper (feat. Charlie Starr) 10. Money (Whatcha Gonna Do)/By The River medley (feat. Bachman & Bachman) 11. Long Red (feat. Yngwie Malmsteen & Teddy Rondinelli) 12. Mississippi Queen (feat. Slash & Marc LaBelle) Full article here
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Post by maddogfagin on Nov 17, 2021 6:26:40 GMT
somethingelsereviews.com/2021/11/15/animals-reimagined-a-tribute-to-pink-floyd/The original album was sort of like that: It was dark and venomous. Melody Maker called it “punk Floyd.” And, indeed, it’s an album that tore into rock grooves which certainly juxtaposed much of the band’s spacey history – and, perhaps, agreed with that “I hate Pink Floyd” T-shirt worn by the Sex Pistols guy, Johnny Rotten. Dave Gilmore got unleashed!
But to get all literary again, British poet William Blake redeemed Milton (in his epic of the same name) and suggested his Satan was, in truth, an energized voice of rebellion and liberty. The new multi-act Animals Reimagined: A Tribute to Pink Floyd follows Blake’s muse and contorts that dark venom into a sonic and colorful prog-rock celebration.The forthcoming LP’s initial tune, “Pigs on the Wing,” is a brief melodic bit, but it allows Cutting Crew’s Nick van Eede a short cameo vocal. Jethro Tull legend Martin Barre also plays a dancing acoustic guitar, and both performances serve to enhance the original.
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